Saturday, June 13, 2015
Hamari Adhuri Kahani
Complete
Mess
A woman walking out on a man
who has expressed his love for her, drags her suitcase and walks down the
desert in Dubai, and one wonders, why didn’t she call a cab or take the metro? Hamari Adhuri Kahani is full of such
insane scenes and the most florid lines heard in a movie since Kader Khan
retired.
Mohit Suri had somehow
inherited from his uncle Mahesh Bhatt the mantle of making love stories
involving damaged or in some way abnormal people. Strangely, even the ghastly Ashiqui 2 and Ek Villain did well, but Hamari
Adhuri Kahani, written by Bhatt goes into the ‘so awful it has to be seen
to believed’ category.
Not since the Southern
melodramas of the eighties and nineties, has one seen a scene in which a woman
runs across a rangoli that she has
made, to rush to her room,clutch at her mangalsutra and cry,
all because a good man told her he loves her, and she weeps because she is
married to a horrible man she hasn’t seen in five years.
Vasudha (Vidya Balan) was
forced to marry Hari (Rajkummar Rao), because of ‘sanskar’ and ‘parampara’ and
he is a psycho who forces her to get a tattoo of his name on her arm, to seal
the ‘saat janam’ deal. Her mother-in-law (Suhasini Mulay) tells her to throw away the mangalsutra and get a life after the
husband disappears, but she is hung up on tradition. There is also a son, to
whom she sends gifts and letters in the absent father’s name.
Rich hotelier Aarav (Emraan Hashmi), who owns 108 hotels but no
home, falls in love with Vasudha because she reminds him of his mother (Amala Akkineni),
in a case of the Oedipal Complex that should have taken him into a psychiatric
ward. The mother also struggled to raise him after her husband abandoned them. Vasudha’s mangalsutra
is dropped only when Aarav takes her to meet his mother, who is looking after a
comatose second husband, because love is a responsibility or some such. Vasudha
promptly falls into Aarav’s arms now madly in love. Huh?
Then Hari returns and crazier things happen. Everyone in the film
is constantly on the verge of hysteria, one feels sorry for the cop (Narendra
Jha) and Aarav’s devoted assistant (Prabal Panjabi), who at least have the
sense to be outraged by the goings-on.
Vidya Balan is reduced to a crying machine; Emran Hashmi looks
alternately bored and befuddled and Rajkummar Rao gets nothing to do.
Today, any film in which a woman calls herself a man’s ‘milqiyat’
deserves to be laughed off the screen.
Labels: Cinemaah
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